ruby onyinyechi amanze, astral planes [only kin keeps us warm], 2020, Ink, graphite, colored pencils, photo transfers on four sheets of paper. Courtesy Mariane Ibrahim

En Conversation avec Immy Mali

ruby onyinyechi amanze : Dessiner les éléments, chorégraphier la liberté

ruby onyinyechi amanze réalise des dessins-collages élaborés qui évoquent des moments de liberté…

Janine Jembere, to cite: diaspora, sound installation, 37:06 minutes, paper prints, 2019, Photo: Kashira Dowridge

Good to Hear

These Are the Podcasts You Need to Follow

Knowledge production has never been so swift, intersectional, and accessible. And much of…

D'Angelo Lovell Williams The Lovers, 2017. Pigment print
20 x 30 in. © D’Angelo Lovell Williams, Courtesy of the artist and Higher Pictures

Collectors' View

Intersecting Patronage, Family and Community with Bernard Lumpkin

After a decade of collecting artworks by artists of African descent with his…

Ifebusola Shotunde, Lagos, New Nigeria Studios at ART X Lagos, 2020.

Art X Lagos 2020

Radically Different, This Year

Tokini Peterside explains how Art X Lagos adapted to the pandemic and to…

The Yemisi Shyllon Museum of Art, 2019. Courtesy the YSMA.

The Yemisi Shyllon Museum of Art

An Educational Collection

Four years ago, Africa's biggest art collector, Prince Yemisi Shyllon, started the process…

Graphics: Petra Schramm (Berlin, 1989). Photo: Benjamin Renter

C& Print Issue Another 89

Paving Ways

Raja Lubinetzki is an East German-born poet and artist. Diane Izabiliza sees a…

Betye Saar, I’ll Bend But I Will Not Break, 1998. Mixed media tableau: vintage ironing board, flat iron, metal chin, white bed sheet, six wooden clothespins, cotton, clothesline and one rope hook, 80 x 96 x 36 in (203.2 x 243.8 x 91.4 cm), Los Angeles County Museum of Art, Gift of Lynda and Stewart Resnick through the 2018 Collectors Committee, © Betye Saar

Inventing Your Own Game

Betye Saar : Cette majesté qu’elle tient entre ses mains

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Horace Imhotep, Ancestral Clay, 2018. Acrylic on canvas, 122 x 183 cm. Courtesy of ZuCot Gallery. Private collection

C& Special Edition #Detroit

Explorer les profondeurs depuis le cœur d’Ancestral Clay d’Horace Imhotep

Jasmine Sinclair Wilson et son immersion dans l’œuvre d’art d’Horace Imhotep.

Nelbia Romero, Sin titulo (Untitled), 1983. Silk screen, 40 x 29 cm. © Hammer Museum 2019.

C& Special Edition #Detroit

Inventer une issue : dystopies et dictatures

Felix Jordan Rucker se penche sur des moyens artistiques de troubler le contrôle…

(left) Photograph of Benjamin Patterson’s Variations for Double-Bass. Museum of Modern Art (MoMA), New York. Acc. n.: 2642.2008. ©2019 Digital image, The Museum of Modern Art, New York/Scala, Florence; (right) Portrait of Mildred Thompson, c.1960s © The Mildred Thompson Estate, Courtesy of Galerie Lelong & Co., New York

C& Special Edition #Detroit

Why They Left America

Mearg Negusse on the self-imposed exiles of US artists Mildred Thompson and Ben…

Oliver Harrington, ... And the philosophy of this administration is if it aint broke dont fix it, 1980s. Benday, ink, paper, blue pencil. Courtesy of Dr. Helma Harrington; The Ohio State University, Billy Ireland Cartoon Library and Museum

C& Special Edition #Detroit

Défier la souffrance!

Mearg Negusse dresse le portrait du caricaturiste américain Oliver Harrington et raconte sa…

Toni Morrison lecture at West Point Military Academy in March, 2013. Photo via Wikipedia.

In Memoriam

Toni Morrison (1931-2019)

Her words are like a second mother-tongue — she taught us a new…